This talk gave a broad overview of international issues and policies in agriculture and food security, and showcased three research projects that explore Agricultural BioDiversity, Genetically Engineered Crops and the difference between European and United States food laws.
Service designers identify and order goals in service systems. Service systems are a unit of analysis for an exchange of skills and capabilities which leads to the production of value in use (Vargo et al., 2008). Service systems are developed though the creation of value, where reinvention can transform the relationships of use and practice. Service systems are characteristically intangible, heterogeneous, simultaneous in production and consumption, non-perishable, and grounded in times and places that maintain their meaning and value (Kimbell, in prep).
One of the ways that designers understand service systems is by using a variety of approaches and concepts that isolate or concentrate focus on the relevant aspects of a system so they can drive experimentation and change. An example of this is a touchpoint, which means the aspects of the service are visible and come in contact with the users of that service (but see this discussion of its origins). You may have suspected that in a relationship of co-creation, touchpoints multiply quickly when production and consumption are linked since users are creators and vice versa. Another example that designers use is the line of visibility. This is similar to the touchpoint, and it describes what users see and experience in their relationships with a service system. It helps in rendering a system so that its processes and organizational structure are visible.
A draft diagram of a business process showing the line of visibility between the user and the organization dedicated to providing a service.
Because touchpoints and lines of visibility exist not only as tools but in practice, service experiences are tightly bound to tied to the production of narrative. Suspense in particular is a common experience for users when parts of a process, system, or set of relationships are hidden from view. Just imagine a time when you were the creator or recipient of a service. Much of your uncertainty or satisfaction was probably driven by what you knew or could expect about the outcome as well as the communication process that was taking place while the service was being delivered.
Richard Allen discusses suspense in his book about [Alfred] “Hitchcock’s Romantic Irony”. Allen cites Meir Sternberg’s distinction that, “suspense derives from a lack of desired information concerning the outcome of a conflict that is to take place in the narrative future, a lack that involves a clash of hope and fear; whereas curiosity is produced by a lack of information that relates to the narrative past, a time when struggles have already been resolved, and as such it often involves and interest in information for its own sake.”
So when working in service design we should decide if we desire to create curiosity or suspense and design our process accordingly. Allen also incorporates Ian Cameron’s view that suspense is a “channeling of emotions”. Clearly emotions can be powerful, but how and why? In Allen’s analysis, suspense is something that happens in us as we are forced to take up the prospect of narrative outcomes that are contrary to the ones we desire. Suspense is constructed out of moral uncertainty, balancing our expectations with potential outcomes.
Allen discusses Hitchcock and develops descriptions of two types of suspense: pure and impure. Pure suspense is broad and objective, prolonged by tension, delay, and narration that is unrestricted, moving between vantage points and locations. It leads to an anxious uncertainty and an increased expectation of a bad outcome as the deadline looms. Arbitrary delays segment time and increase the tension because a bad outcome seems close at hand. Often, the audience sees a threat before the protagonist and surprise happens through the manipulation of time. The outcome almost always favor of the moral victory, especially in popular media.
Impure suspense on the other hand is local and subjective. It is developed from points of view that provide different sources of knowledge often through the eyes of the protagonists and antagonists, keeping the audience informed while the characters remain unwitting. Deadlines are set early on and acceleration commonly heightens the alert attentiveness of the spectators who are active participants in the construction of the suspense. Knowledge is not made by the director. It is made by the audience in cooperation with the information provided to the characters. All too often, the audiences senses the outcome before the characters do by filling in blanks sources of meaning that haven’t been provided. Impure suspense favors empathy for the character, as if we were living through them. The moral outcome is less certain and often unrealized.
In order to try to make the differences between pure suspense and impure suspense more tractable, I imagined what users in a service system might say if they were experience one or the other. The result is in the chart below, and it adapts these distinctions and starts to resolve how one might go about implementing different narrative objectives for a service system.
Pure suspense
Impure suspense
Locations
I move unrestricted between vantage points and locations.
I stay highly local and subjective.
Points of view
My perspective is omniscient and wide-ranging.
I tell everyone what is happening everywhere.
I get different sources of information through the eyes of the others.
I keep some people informed and others in the dark.
Time
My day is prolonged by tension and arbitrary delay.
Deadlines are set early in the day and acceleration commonly heightens my emotional state.
Emotional states
I have anxious uncertainty and an increased expectation of a bad outcome as a deadline looms.
I am alertly attentive, experiencing empathy for others.
Knowledge Production
The person in charge chooses and focuses attention on the priorities.
I cooperate with the information provided to learn what to do next.
Expectations
I can explicitly identify a threat.
I am frequently surprised.
I sense an outcome before others.
I fill in blanks with sources of meaning that haven’t been provided.
Moral outcome?
I favor the best outcome – like what happens in popular media.
The best outcome is less certain and often unrealized.
References:
Vargo, S. L., Maglio, P. P., & Akaka, M. A. (2008). On value and value co-creation: A service systems and service logic perspective. European Management Journal, 26(3), 145-152. doi:10.1016/j.emj.2008.04.003
In the 1930s, evolutionary geneticist Sewall Wright pulled together research strands in the biology of inbreeding, the genetics of coat color in guinea pigs, statistical methods (including path analysis), and mathematics that codified the changes in gene frequencies in populations as a result of natural selection, mutation, and migration.
His resulting description of these threads set the stage for qualitatively different perspective on the evolutionary process. Wright described his perspective as a “shifting balance” model of evolutionary change, and it highlighted the role of small populations in the transitions between periods of high and low fitness. This pattern, which followed from his use of the term “drift”, describes the fluctuations of gene frequencies that result from the random sampling of small populations. This random sampling comes from mating in small populations that, because of chance, produces small deviations from the numbers of genes originally represented in the population.
Wright’s Shifting Balance perspective coincided with his introduction of the adaptive landscape as a term to describe the space in which random fluctuations of gene frequencies in small populations could push the populations away from adaptive peaks or periods in which they were reproductively successful, and which would in turn allow natural selection to push them towards new adaptive peaks – areas of differential reproductive success.
Though Wright’s perspective on evolution is controversial (in a generative way), the perspectives and tools that emerged from his ideas have endured. For example, Wright’s work preceded algorithmic approaches to optimization problems in mathematics, networks (traveling salesman), metallurgy (simulated annealing), and artificial intelligence – to name a few
The process of Shifting Balance is described as a series of three dynamic phases:
Phase 1, the exploratory phase, the action of small groups explores new combinations. Most stay on the suboptimal fitness peak (reasonably successful), but some get caught in adaptive valleys (unsuccessful).
In Phase 2, selection causes the groups that are in the adaptive valleys to move toward new, higher-fitness peaks.
Finally, in phase 3, groups at higher fitness peaks send off migrants helping other groups move to higher fitness peaks.
Phase 1: The Exploratory Phase
Phase 2: The Selection Phase
Phase 3: The Migration Phase
While Wright’s process was intended for population genetic systems, an increasing convergence between social processes, cognitive psychology, technology, ecology, and creative practice suggests that the concepts apply well to the exploratory, form-finding processes that precede the design and production of materials and services. The implementation of the Shifting Balance process as a analog for social and creative strategy is useful for the production of highly original and robust creative solutions – or, at least it’s a testable hypothesis.
For some, analogies between biological and social processes are difficult to comprehend. However, the design of services and interactions is dependent on the ordering and reordering of processes, materials, people, and ideas. Combinations and recombinations of these things, when developed thoroughly and communicated, can impact the delivery and relational aspects of individuals working in cooperation or separately.
We could envision this process as a sort of charette (period of intense design in collaborative groups) activity where:
The exploratory phase initiates adaptive schema (creative combinations) which are driven by the interactions, specializations, and diverse perspectives of small groups;
Intergroup selection resulting from evaluation, the inherent heterogeneity among groups, and intended service platforms begins the iterative process of amplification of good combinations;
Export and translation of valuable forms/schema to other groups in order to test them against different problems, social contexts for cooperation, and consumptive patterns.
The immediate benefit of this strategy is the demonstration of expertise in practice, the role of discourse, and the chance events that can drive innovation. Participants from different disciplines will have to opportunity to observe and engage in creative problem solving within highly diverse communities. Here the focus is on collaborative ideation followed by problem-solving across disciplinary and expertise-based boundaries and ultimately an exercise in cooperative translation, storytelling, and communication.
There is enough social scientific research to at least point to the benefit of diverse groups, although it would be worthwhile to have a better handle on an ideal number – i.e. what counts as a small population. Plus, how do we go about choosing? What is the process of selection…or should we instead be saying, “What is the process of attachment?” And finally, are there specific patterns of translation or dissemination that we should aim for? For if migrants endowed with the most successful schema do disperse and link up with others, they have an opportunity to cooperate and raise the capacity the other groups elsewhere. But through which mechanisms to we initiate and implement these processes?
There are a few other ideas that seem uniquely coupled to the Phases of Shifting Balance. An example is the goal of participation as a unique form of empowerment in community planning exercises. One particular model of participatory engagement provided by Conde et al. (2004) is used in the context of climate change planning (below).
The Landscape of Participation
This example shows transitional categories in participation. When viewed through a model of culture which emphasizes process over characteristics, these are skills acquisition categories that indicate differences with an impact on fitness – i.e. reproductive success.
Each category represents a different level of engagement, a level that itself suggests a tighter relationship between participants and the tools of participation or cooperation.
Informative participation is an exchange of information, which may or may not be meaningful.
Consultation requires that participants begin asking questions as well as providing information.
Functional engagement means that different participants identify and agree to share goals, thus ordering their actions in accordance with each other.
Interaction means the initiation of feedback, where signals and shifts in the participation is met with responsiveness and dialog with the others.
Self-motivated participation is demonstrated by the points at which processes are acquired and reorganized by the participants themselves.
Migration ultimately expands the instances of participation which have been successful, sharing them with other communities, and finding cooperative allies elsewhere.
References:
Conde, C., Lonsdale, K., Nyong, A., & Aguilar, I. (2004). Engaging stakeholders in the adaptation process. Adaptation policy frameworks for climate change: Developing strategies, policies and measures, 47–66.
Wright, S. (1977) Evolution and the Genetics of Populations. Vol. 3: Experimental Results and Evolutionary Deductions. University of Chicago Press, Chicago.
